There is a picture, drawn by this same Suso, representing the journey of man through life, his departure from God and his return. In this picture the path of humanity is renunciation and asceticism; death flourishes his scythe above the heads of a dancing couple, and underneath is written: "This is earthly love; its end is sorrow"; to such an extent was this sincere and sensitive man under the influence of the traditional hatred of the world which Eckhart, his great master, had completely overcome. Provencals and Italians sang the delight of spring, and the German minnesingers greeted it as the deliverer from all the hardships of the severe winter; with the latter it was more a childish delight in the open-air life which had again become possible, after the long imprisonment of winter, than pure joy in beauty. But some of the German epic poems, "Tristan and Isolde," for instance, contain genuine, sincere descriptions of sylvan beauty. The student of art, especially the German art of the Renascence, cannot help being struck by the extraordinary love with which quite insignificant objects of nature, such as a bird, or a flower, are treated. The familiar things of every-day life were in this way brought into connection with solemn biblico-historical subjects. There is no doubt that at all times a certain keen perception of the beauty of nature has been inherent in some favoured individuals; but the universally accepted opinion that only the supernal was really beautiful, and that terrestrial beauty was merely its reflected glory, was too strong even for them. Thus we have seen Suso translating the beauty of the earthly spring to the kingdom of heaven. At the same time men were beginning to travel to distant countries for the sole purpose of seeing new scenes and acquiring fresh knowledge. The famous Venetian, Marco Polo, was the first European who (in 1300) visited Central Asia, crossed China and Thibet, and brought news to Europe of the fairyland of Japan. Sight-seeing as an end in itself was discovered. Long sea-voyages for commercial purposes were no novelty, but no human foot had ever trod the summits of the Lower Alps, unless it had been the foot of a peasant whose cattle had strayed. Petrarch was the first man (in 1336) to climb a barren mountain, the Mont Ventoux in Provence, voluntarily undergoing a certain amount of fatigue for sheer delight in the beauty of nature. This was a great, an immortal deed, greater than all his sonnets and treatises put together. In a long letter which has been preserved to us, he describes with much spirit and erudition this extraordinary ascent, before whose profound significance all the Alpine exploits of our time shrink into paltry gymnastic exercises.